The British Film Institute claims that he "is probably the most influential modernist filmmaker in British cinema".[2]

Malcolm Le Grice was born in 1940, and studied at Slade School of Art, London. He founded the London Filmmakers' Co-op workshop in the late 1960s, at the same time introducing film to fine art students at St Martins School of Art and Goldsmith's College, London. He has balanced his continuing practice as a filmmaking artist with campaigning for the artform in print, in his books Abstract Film and Beyond 1977 and Experimental Cinema in the Digital Age (BFI) 2001, in higher education, and in committees at the British Film Institute and the Arts Council. His most recent works have been digital video installations.

Born in May 1940, Malcolm Le Grice started as a painter but began to make film and computer works in the mid 1960's. Since then he has shown regularly in Europe and the USA and his work has been screened in many international film festivals. He has also shown in major art exhibitions like the Paris Biennale No.8, Arte Inglese Oggi, Milan, Une Histoire du Cinema, Paris, Documenta 6, Kassel, X-Screen at the Museum of Modern Art, Vienna, and Behind the Facts at the Fondacion Joan Miró, Barcelona. His work has been screened at the Museum of Modern Art, New York, the Louvre Museum in Paris and the Tate Modern and Tate Britain in London and is in permanent collections including: the Centre Georges Pompidou, Paris; the Royal Belgian Film Archive, Brussels; the National Film Library of Australia, Canberra; German Cinamatheque Archive, Berlin; Canadian Distribution Centre, Montreal and Archives du Film Experimental D'Avignon. A number of longer films have been transmitted on British TV, including 'Finnegans Chin', 'Sketches for a Sensual Philosophy' and 'Chronos Fragmented'. His main work since the mid 1980s is in video and digital media and includes the multi-projection video installation works 'The Cyclops Cycle' and Treatise. Le Grice has written critical and theoretical work including a history of experimental cinema 'Abstract Film and Beyond' (1977, Studio Vista and MIT). For three years in the 1970's he wrote a regular column for the art monthly Studio International and has published numerous other articles on film, video and digital media. Many of these have been collected and recently published under the title 'Experimental Cinema in the Digital Age' by the British Film Institute (2001). Le Grice is a Professor Emeritus of the University of the Arts London.

Every episode of the British childrens show called "the scariest program ever made for children".

Children of the Stones is a television drama for children produced by HTV in 1976 and broadcast on the United Kingdom's ITV network in January and February 1977. A one-off serial, the story was depicted over seven episodes and produced by Peter Graham Scott, with Patrick Dromgoole as executive producer. A novelisation by the serial's writers, Jeremy Burnham and Trevor Ray also appeared in 1977. In the United States, it was broadcast on the Nickelodeon television channel in the early 1980s as part of the series The Third Eye.[1]

The series is today considered a landmark in quality children's drama and has been called "the scariest programme ever made for children".

The series followed the adventures of astrophysicist Adam Brake and his young son Matthew after they arrive in the small village of Milbury, which is built in the midst of a megalithic stone circle.

Filmed at Avebury, Wiltshire during Summer 1976, with interior scenes filmed at HTV's Bristol studios, it was an unusually atmospheric production with sinister, discordant wailing voices heightening the tension on the incidental music. The music was composed by Sidney Sagerwho used the Ambrosian Singers to chant in accordance with the megalithic rituals referred to in the story.[3] Director Peter Graham Scott was surprised on seeing the script that the series was intended for children's airtime due to the complexities of the plot and disturbing nature of the series.[4] The series is frequently cited by those who remember it as one of the scariest things they saw as children.[5]

Cast as the leader of the village, Hendrick was well-known actor Iain Cuthbertson, while the leading role of Adam Brake was filled by another experienced actor, Gareth Thomas, who would later find greater fame as the main character in the science fiction series Blake's 7. Cuthbertson and Thomas had previously worked together on the TV series Sutherland's Law. Veronica Strong played Margaret Smythe, the winsome curator of the local museum who partners with Brake to solve the mystery. The child actors Peter Demin (aged 17 at the time of filming)[6] and Katharine Levy played the teenage leads Matthew (Brake's son) and Sandra (Smythe's daughter). Two popular character actors of the time, Freddie Jones and John Woodnutt, were cast as poacher Dai and butler Link.

A collection of interviews with the late, great actor Richard Burton

Richard Burton, CBE (/ˈbɜrtən/; 10 November 1925 – 5 August 1984) was a Welsh stage and cinema actor[1] noted for his mellifluous baritone voice and his great acting talent.[2][3]

Establishing himself as a formidable Shakespearean actor in the 1950s, with a memorable performance of Hamlet in 1964, Burton was called "the natural successor to Olivier" by critic and dramaturg Kenneth Tynan. An alcoholic,[3] Burton's failure to live up to those expectations[4]disappointed critics and colleagues and fueled his legend as a great thespian wastrel.[3][5]

Burton was nominated seven times for an Academy Award without ever winning. He was a recipient of BAFTA, Golden Globe and Tony Awards for Best Actor. In the mid-1960s Burton ascended into the ranks of the top box office stars,[6] and by the late 1960s was one of the highest-paid actors in the world, receiving fees of $1 million or more plus a share of the gross receipts.[7]

Burton remains closely associated in the public consciousness with his second wife, actress Elizabeth Taylor. The couple's turbulent relationship was rarely out of the news.

Really great, funny and heartbreaking 1987 film with a fantastic performance by Emily Lloyd

Wish You Were Here is a 1987 British comedy-drama film starring Emily Lloyd and Tom Bell. It was written and directed by David Leland.[1]The original music score was composed by Stanley Myers.

Sixteen-year-old Lynda Mansell (Emily Lloyd) lives in a small English seaside town in the early 1950s. She is feisty and precocious and tries to shock other people with her vulgar and saucy tongue (her favourite insult is "Up yer bum"). Bored with conventional jobs (which she frequently loses) and her town's dull young men, Lynda has her first sexual experience with Dave (Jesse Birdsall) but after she has slept with one of her father's middle-aged friends (Tom Bell), her life changes. She becomes pregnant and her father, a somewhat rigid and conventional man, disowns her. Desperately she tries to seek an illegal abortion but in the end decides to become a mother.

"Wish you were here" is a sigh Lynda makes because of her dead mother, who understood her and protected her from her intolerant father. Beneath her cheeky exterior, Lynda is a vulnerable girl who seeks love and a place in life; she lives in a time when it was difficult for teenagers like her to do that in their own way.

Network Awesome - Sat, Feb 20 "If you're going to make rubbish, be the best rubbish in it." -Richard Burton

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"If you're going to make rubbish, be the best rubbish in it." -Richard Burton